Photographs by Neil Van.
It’s already been said a lot, but it’s worth repeating for the sake of context: It has been a long time since we’ve seen La Roux.
In the world of blink-and-you’ll-miss-it radio singles, the English synthpop act – aka the red-coiffed Elly Jackson – has done enough to set herself apart from the rest of the pack, but clearly has a ways to go before she’s back on top of the pop game. It seems strange to imagine her standing in that spotlight, given her apparent reluctance at pop stardom and a primarily backlit set, but when you write catchy tunes… well, people are bound to pay attention. So, sorry La Roux: at this rate, you’ll need to get used to it.
Jackson’s show at the Danforth Music Hall on Sunday night was the start of her tour and the Toronto crowd was the first to hear new showings from upcoming sophomore release Trouble In Paradise, expected in July. As the follow-up to the 2009 eponymous, Grammy-winning debut, there are inevitable expectations of the album – not to mention a lot of people waiting to gauge her sustainability as a musician. Luckily her show at the Danforth proved promising, though not without its kinks.
The first single from the album, “Let Me Down Gently,” was a bit of a sleeper compared to the rest of the offerings. She got it out of the way early, opening with the song and then telling the crowd: “That was the first time we’ve ever done that.”
For much of the material, both new and old, it seemed her and her four-piece backing band was still looking for solid footing. It’s not that they were bad – just that their peaks weren’t quite where they needed to be to start the massive dance party you’d generally associate with La Roux’s upbeat electronics. This is something that will come with time and with experience, so as a kickoff point Jackson and the band can be forgiven for the shakiness.
Despite some dropped vocal notes and anti-climatic moments, the old songs played well with the crowd. Familiar songs like “Growing Pains,” “In For The Kill,” and “I’m Not Your Toy” received enthusiastic cheers. Interspersing the new with the old also gave a pretty good indication of where Trouble In Paradise is heading: away from Jackson’s trademark falsetto and toward darker territory. The 80’s electronic sensibilities still remain, but there’s certainly been a change – including the departure of producer Ben Langmaid, La Roux formerly a duo between the two.
Of the new offerings, “Cruel Sexuality” missed the mark on vocals but showcased a strong buildup – going over well with the crowd. It was followed with the boy-bandesque “Sexotheque,” named after an actual club in Montreal, Jackson told the audience. Expect it to be a highlight with its catchy appeal and chorus that begs for audience participation.
“Tropical Enchanter” also played well with its grooving bass, as did the guitar and drum-driven “Uptight Downtown” – La Roux interacting with the crowd in front of her and apparently enjoying her return to the stage (her first appearance since October 2013.)
Jackson had one sole, endearingly “diva” moment – asking a roadie named Duncan to turn on her fan – but seemed very approachable and in good spirits. Even during her darker turn on “Silent Partner,” a sinister, grimy dance floor number that’s a promising indication of what’s to come on the new record, she was still goofy, telling the crowd: “Next time, I’ll have you all naked by the end of that song.” While her turn on an electronic drum kit didn’t add much to the song itself, it’s certainly poised to be her “epic” live moment, if you will – and one that will probably sound fantastic on record.
Jackson and the band ended, of course, with her “Bulletproof” breakout. Is it the best song she’s written yet? Probably. Could you tell the crowd was waiting for it? Absolutely. It really is a fantastic pop single and a song that’s retained its appeal over the years.
Given her five-year absence from the city, the undersold venue wasn’t a surprise. There was plenty of room at the back of the venue for more bodies, but given the circumstance it also wasn’t a bad showing and certainly a step-up from her debut performance in Toronto – then playing at the El Mocambo.
Ultimately she’ll need to do more to pack the room and will need to work on pulling all the pieces together, but I have to think La Roux is capable of it. What it all comes down to is whether or not Elly Jackson actually wants that. For the sake of electronic pop fans, let’s hope so.
Thanks to Embrace Presents for media access.
